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Syncopation Creates the Sensation of Groove in Synthesized Music Examples

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Syncopation Creates the Sensation of Groove in Synthesized Music Examples http://www.diva-portal.org This is the published version of a paper published in Frontiers in Psychology. Citation for the original published paper (version of record): Sioros, G., Miron, M., Davies, M., Gouyon, F., Madison, G. (2014) Syncopation creates the sensation of groove in synthesized music examples. Frontiers in Psychology, 5: 1036 http://dx.doi.org/10.3389/fpsyg.2014.01036 Access to the published version may require subscription. N.B. When citing this work, cite the original published paper. Copyright © 2014 Sioros, Miron, Davies, Gouyon and Madison. This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) or licensor are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms. Permanent link to this version: http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-93059 ORIGINAL RESEARCH ARTICLE published: 16 September 2014 doi: 10.3389/fpsyg.2014.01036 Syncopation creates the sensation of groove in synthesized music examples George Sioros 1, Marius Miron 2, Matthew Davies 2, Fabien Gouyon 2 and Guy Madison 3* 1 Department of Informatics Engineering, Faculdade de Engenharia, Universidade do Porto, Porto, Portugal 2 Institute for Systems and Computer Engineering - Technology and Science (INESC-TEC), Porto, Portugal 3 Department of Psychology, Umeå University, Umeå, Sweden Edited by: In order to better understand the musical properties which elicit an increased sensation Sofia Dahl, Aalborg University of wanting to move when listening to music—groove—we investigate the effect of Copenhagen, Denmark adding syncopation to simple piano melodies, under the hypothesis that syncopation is Reviewed by: correlated to groove. Across two experiments we examine listeners’ experience of groove Maria Witek, University of Aarhus, Denmark to synthesized musical stimuli covering a range of syncopation levels and densities of Alan M. Wing, University of musical events, according to formal rules implemented by a computer algorithm that shifts Birmingham, UK musical events from strong to weak metrical positions. Results indicate that moderate *Correspondence: levels of syncopation lead to significantly higher groove ratings than melodies without any Guy Madison, Department of syncopation or with maximum possible syncopation. A comparison between the various Psychology, Umeå University, Mediagränd 14 A-123, Umeå, transformations and the way they were rated shows that there is no simple relation SE-901 87, Sweden between syncopation magnitude and groove. e-mail: [email protected] Keywords: groove, syncopation, movement, rhythm, listening experiment, music INTRODUCTION increase groove. The latter was confirmed by a systematic analysis Certain types of music induce the desire in humans to tap their conducted by Davies et al. (2013) on simple rhythms. feet, move their body, and dance. This feeling is commonly known Madison and Sioros (2014) examined how musicians create as “groove” and has a strong affective component, as well as groove when they are confined to a monophonic melody and a strong correlation with music appreciation (Madison, 2006). an isochronous beat. Professional musicians were asked to per- According to Janata et al. (2012), we find pleasurable the music form six simple and six more complex melodies in two different that makes us want to dance and such music elicits spontaneous expressive ways: maximizing and minimizing groove. Their per- rhythmic movements. Furthermore, Madison et al. (2011) show formances were then rated by listeners to examine to what extent that the propensity to move differs substantially from one piece of the manipulations of the musicians created the intended effect. music to another, but can be linked to certain rhythmical proper- The study revealed that musicians tended to shift the onset and ties of the music signal such as beat salience and the density of offset positions of the notes in the simple melodies to faster met- events. rical levels in order to increase groove in their performances, and There is a strong agreement in the previous studies toward that this increased the groove to the same level as the complex the definition of groove. Madison (2006) defined groove as the melodies. By virtue of shifting note onsets and offsets to faster “sensation of wanting to move some part of the body in rela- metrical levels, the musicians created a greater number of off- tion to some aspect of the sound pattern.” Similarly, Janata et al. beat events, thus, increasing the syncopation. When they tried to (2012) conducted a survey involving a wide variety of music minimize groove they were unable to decrease it below the dead- related terms, to find that “groove is that aspect of the music pan level for the simple performances, but the dead-pan level that induces a pleasant sense of wanting to move along with the of groove in the complex melodies could be reduced to that of music.” Furthermore, there are strong clues that link certain prop- the simple melodies. This seemed to be achieved by two differ- erties of the music with the induced groove. Janata et al. (2012) ent means. One was to simplify the rhythmic structure toward conducted an extensive study on sensorimotor coupling which higher metrical levels, i.e., from 16th and 8th-notes to 8th, 4th, provides a broad analysis under the different facets of groove. The and half-notes, and the other was to break the rhythm such that computational part of the analysis suggests that music genre and the sense of a regular beat disappeared. Both of those devices faster tempi have a strong effect on the desire to move along to result in decreased syncopation but each in a different way. The the music. In comparison, Madison et al. (2011) claim that tempo first simply eliminates the syncopating notes by placing them on alone cannot explain groove. Consequently, Madison et al. (2011) the beat. In the second, syncopation disappears together with the found that low level descriptors, such as beat salience, event den- metrical feel. sity and fast metrical levels as physical attributes of the sound, While the results from Madison and Sioros (2014) appear to highly correlate with groove. In contrast and unlike what musico- indicate that the main physical correlate of groove was synco- logical literature points toward (Keil, 1995), microtiming does not pation, the design of the experiments was not fully controlled, www.frontiersin.org September 2014 | Volume 5 | Article 1036 | 1 Sioros et al. Syncopation creates groove since the musicians could, and did, change several aspects of their changing metrical positions only, without altering other expres- performances simultaneously. It is therefore difficult to determine sive or structural characteristics. The algorithm is an adaptation if the changes in some performance parameters were redundant, of the general syncopation transformations developed by Sioros independent, or interdependent, and also the unique effect of et al. (2013). While in the recent Witek study (2014)syncopa- each one of them. Therefore, there is a need to experimentally tion was measured in pre-existing drum loops, in our study we test the hypothesis that syncopation per se induces the sensation can generate and vary it in piano melodies using an automatic of groove independently of other expressive or structural features algorithm over which we have complete control. of the performances. We designed two listener experiments using simple piano Syncopation as a cognitive mechanism has been described as a melodies that were transformed in an automatic and controlled form of violation of metrical expectations (Huron, 2006, p. 297), way in order to generate syncopation without affecting other that is, temporal expectations that are established in the listener’s rhythmic or structural characteristics. In the first experiment we mind as a function of the temporal regularities in the music sig- explore the more general hypothesis that increasing the synco- nal. Several operational definitions of syncopation are based on pation to a moderate amount and introducing faster metrical the more general expectation principle, and provide algorithms levels results in an increased groove sensation. Then, in the sec- for measuring the amount of syncopation present in a rhyth- ond experiment, we aim to gain more insight on how the strength mic pattern (Longuet-Higgins and Lee, 1984; Gómez et al., 2005; of each individual syncopation felt in a melody influences groove Huron and Ommen, 2006; Sioros and Guedes, 2011). A common as well as distinguishing between different ways of introducing characteristic among many syncopation measures is the use of a faster metrical levels. Parallel to the syncopation transformations, metrical template that describes the strong and weak beats found density transformations that increase the number of events in in the musical meter. Normally, a note articulated in a weak met- the melodies are used as controls in order to verify the effect of rical position is followed by a note in the following strong position syncopation. resulting in a weak-strong rhythmic figure. Huron (2006, p. 295) Basedonrecentresultsonthistopic(Madison and Sioros, suggests that when the expected note on the strong position does 2014; Witek et al., 2014), our predictions for the outcome of not occur, the tension increases and the feeling of syncopation the listening experiments are: (1) the deadpan versions of the is evoked. The syncopation is then attributed to the “improper melodies that contain no syncopation would be rated lowest in binding” of a musical event found on a weak metrical position groove, (2) introducing a small number of strongly syncopating to an event in the following strong position, which is delayed or notes would be rated highest in groove, (3) an increased num- not present at all (see also London, 2012, p.
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